10. "The Tide Is High"
(Autoamerican, 1980)
At this point in the band's career, they have already proven that they could cover anything from punk to disco; from rock to ballads. Now it is time to explore Reggae with their low-key, accessible cover of The Paragons's 1967 classic penned by John Holt. What could have been a radical departure from their image only strengthens their musical integrity by including another style to the mix. The tune rode the wave to #1 as the lyrics suggest.
9. "X Offender"
(Blondie, 1976)
Blondie has never shied away from irony or controversy, and their naughty debut single establishes just that. The original title needed to be changed for better marketing, and the tune is a delicious combination of mid-1970s punk and 1950s flavor. Debbie sings of a dangerous love with unapologetic confidence. The band is having fun playing Gary Valentine's song, and it's a sure sign of things to come.
8. "Picture This"
(Parallel Lines, 1978)
Jimmy Destri's surreal but concrete approach to music is perfectly matched with Chris Stein's pop/rock sensibility. Debbie Harry's dreamlike verses are balanced nicely with her wake up during the chorus. Becoming both a gentle and intense yearning for simple things like a "telephone number" or "freezing cold weather," this gem cements why its album became the breakthrough it is. It is both a UK hit and fan favorite in the US.
7. "In the Flesh"
(Blondie, 1976)
Leave it to Debbie to perform a love ballad with a sneer and make it work! The song is attitude ("Hands off this one sweetie/This boy is mine") meets candid emotion ("I couldn't resist you/I'm not deaf, dumb, and blind"). Debbie and Chris know how to make the title less provocative and more sensual. With quiet beauty and sensitivity this rare slow tune is both "warm and soft" and "close and hot."
6. "One Way or Another"
(Parallel Lines, 1978)
Frank Infante's razor-sharp guitar introduction sets the scene, and the song immediately kicks into full gear as Debbie sings with a purpose. Perhaps less singing and more biting is accurate. This tale of obsession has an intense momentum and drive that runs on all cylinders. Debbie deals with topics that female rock stars didn't deal with back in the day -- or today for that matter. She does so with such confidence and attitude that we know right away that it is she who is in control of the situation. A perfect, strong message for women (and men) everywhere. Watch out! She's gonna getcha!
5. "Dreaming"
(Eat to the Beat, 1979)
With its pump-and-go rhythm and Clem Burke rocking it on the drums, this is the perfect showcase why the group is a force to be reckoned with. Debbie can effortlessly handle the high notes and then gradually slide down the scale like nobody's business. Burke's intricate percussion solidifies his unique contribution to the band. The first single off their fourth album will continue their popularity. Part new wave and part pop, the song has a flow and ease as suggested by its title.
4. "Maria"
(No Exit, 1999)
Blondie's triumphant comeback proves that not only are they current but they can remain true to their original sound. Jimmy Destri's imagery ("smooth as silk; cool as air"/"won't come in from the rain; she's oceans running down the drain") is his best work. Debbie's vocals are so fluid and seductive, especially when she opens up for the chorus. The band isn't afraid to suggest spirituality, and the results have been heard around the world. Literally. When fans hear this song, it is easy to go insane and out of your mind!
3. "Call Me"
(American Gigolo Soundtrack, 1980)
Debbie Harry and Giorgio Moroder's driving tune about, well, a man's certain profession propelled the band to #1. And with good reason. Debbie's intense lyrics are as intimate as they are seductive ("roll me in designer sheets/I'll never get enough"). There is also the right amount of urgency and loneliness ("call me any, anytime/call me for your lover's lover's alibi"). Moroder's crisp, crystal-clear production also assists in the single's success. It isn't any secret what this man does for a living, and it helped at the box office for AMERICAN GIGOLO starring Richard Gere. Nominated for a Grammy for Best Rock Performance by a Duo or Group with Vocals, the song remains one of Blondie's most impressive and long-lasting hits.
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2. "Rapture"
(Autoamerican, 1980)
Clearly, Blondie has never paid attention to the phrase "comfort zone," and we fans couldn't be happier. As a result, we have this deliciously dark but intriguingly adventurous opus introducing Mainstream America to the genre of Rap, a new style of music back in the day. Destroying all barriers and walls along the way, writing team Debbie Harry and Chris Stein offer us seductively unique lyrics ("toe to toe/dancing very close/body breathing/almost comatose") which are balanced by producer Mike Chapman's hauntingly sparse musicology.
After this introduction to the party, we segue to a most original epic consisting of a Man from Mars, cars, bars, and guitars. It was hardly familiar territory for Top 40 Radio in early 1981, but audiences have embraced "Rapture" all the way to #1. This second release from AUTOAMERICAN permits the impressively diverse Blondie to include "Rap" to their diversely impressive resume. Get up!
1. "Heart of Glass"
(Parallel Lines, 1978)
When producer Mike Chapman heard the original "Once I Had A Love" penned by Debbie Harry and Chris Stein, he promised the band that he would take the Reggae-flavored song and turn it into a masterpiece.
Mission.
Accomplished.
From the fun and funky popcorn-like sounds in the introduction, to the cool iciness of the "oo-oo/oh-oh" refrain, "Heart of Glass" strikes gold on every note and every measure.
Debbie sings of a fallen love with the right amount of distance and irony, and the honesty in the lyrics tells all. ("Once I had a love, and it was divine/soon found out, I was losing my mind/seemed like the real thing, but I was so blind/mucho-mistrust; love's gone behind")
Much of the credit goes to Clem Burke's precise percussion. His acute attention to detail justifies that he drums better than the best of them.
The guitars and keyboards complement each other in such perfect harmony that it's as if they were born to play Disco. When the song hit #1 in the Spring of 1979, they didn't just join the club -- they showed everyone else how it is done.
The fourth single from their third album PARALLEL LINES took over the world (following "Picture This," "I'm Gonna Love You Too," and "Hanging on the Telephone"). It was well worth the wait.
"Heart of Glass" and the rest of Blondie's catalog demonstrate that their talent and endurance are parallel to none.
I hope you enjoyed this countdown!
